Nady Systems SRM-14X User manual

Brand: Nady Systems

Model: SRM-14X

Category: Audio mixers

Type: User manual

This manual is also suitable for

SRM-12X

SRM SERIES

MIXING CONSOLE

XX – 12 Channel Stereo Mic/Line Mixer

XX – 14 Channel Stereo Mic/Line Mixer

OWNER’S MANUAL

SRM SERIES STEREO MIC/LINE MIXERS

SRM-12X & SRM-14X

Congratulations on your choice of mixers — you have pur-

chased one of the finest compact mixing consoles on the

market today. This unit was developed using the expertise of

professional sound engineers and working musicians. You

will find that your new NADY AUDIO mixer has superior per-

formance and greater flexibility than any other mixer in its

price range. Please read this manual carefully to get the

most out of your new unit.

Thanks for selecting NADY AUDIO as your choice in mixing

consoles.

Date of Purchase

Dealer’s Name

City

State

Zip

Model #

Serial #

CONTENTS

WARNING ..........................................................................................................................................................3

FEATURES ...................................................................................................................................................... 4

INSTALLATION.................................................................................................................................................. 5

1. Inspection ...................................................................................................................................................... 5

2. Rackmounting ................................................................................................................................................ 5

3. Power Connection.......................................................................................................................................... 5

CONTROLS AND CONNECTIONS .................................................................................................................. 6

1. Mono Input Section ........................................................................................................................................6

2. Stereo Input Section........................................................................................................................................8

3. Master Section ................................................................................................................................................9

a. Aux Sends/Returns Function and Operation .......................................................................................... 9

b. Main Mix Function and Operation ............................................................................................................9

c. Monitor Function and Operation ............................................................................................................10

d. Power Switches......................................................................................................................................10

4. Connections..................................................................................................................................................11

SPECIFICATIONS............................................................................................................................................ 12

BLOCK DIAGRAM ..........................................................................................................................................13

NOTES..............................................................................................................................................................14

WARNING

IMPORTANT SAFETY INSTRUCTIONS

When using this electronic device, basic precautions should always be taken, including the following:

1. Read all instructions before using the product.

2. Do not use this product near water (e.g., near a bathtub, washbowl, kitchen sink, in a wet basement, or near a

swimming pool, etc.).

3. This product should be used only with a cart or stand that will keep it level and stable and prevent wobbling.

4. This product, in combination with headphones or speakers, may be capable of producing sound levels that

could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a

level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an

audiologist.

5. The product should be positioned so that proper ventilation is maintained.

6. The product should be located away from heat sources such as radiators, heat vents, or other devices

(including amplifiers) that produce heat.

7. The product should be connected to a power supply only of the type described in the operating instructions or

as marked on the product. Replace the fuse only with one of the specified type, size, and correct rating.

8. The power supply cord should: (1) be undamaged, (2) never share an outlet or extension cord with other

devices so that the outlet’s or extension cord’s power rating is exceeded, and (3) never be left plugged into

the outlet when not being used for a long period of time.

9. Care should be taken so that objects do not fall into, and liquids are not spilled through, the enclosure’s

openings.

10. The product should be serviced by qualified service personnel if:

A. The power supply cord or the plug has been damaged.

B. Objects have fallen into, or liquid has been spilled onto the product.

C. The product has been exposed to rain.

D. The product does not appear to operate normally or exhibits a marked change in performance.

E. The product has been dropped, or the enclosure damaged.

11. Do not attempt to service the product beyond what is described in the user maintenance instructions. All

other servicing should be referred to qualified service personnel.

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

An equilateral triangle enclosing a lightening flash/arrowhead symbol is

intended to alert the user to the presence of uninsulated “dangerous

voltage” within the product’s enclosure which may be of sufficient

magnitude to constitute a risk of electric shock.

An equilateral triangle enclosing an exclamation point is intended to alert

the user to the presence of important operating and service instructions in

the literature enclosed with this unit.

FEATURES

SRM SERIES STEREO MIC/LINE MIXERS

The SRM-12X and SRM-14X are the ultimate value in compact professional stereo mic/line mixers. Rackmounted (with

supplied rack ears) or as compact desk consoles, these high quality units are perfect for home and project studios,

live club main and monitor mixing, video post-production studios, remote broadcasting — in fact, anywhere superior

performance, rugged reliability and ultra-versatility are needed in an audio mixer. The operating instructions in this

manual are for the SRM-12X and SRM-14X stereo rack mixers. For brevity, in most of this manual the copy refers to

the SRM-14X (as this model has the most inputs) but the instructions apply to the operation of the SRM-12X as well.

With 12 and 14 channels respectively, as well as 2 stereo AUX returns, and 2 tape inputs, the SRM-12X offers 16 and

the SRM-14X 18 total inputs in all. Common features include:

• Ultra-low-noise mic preamps

• Wide dynamic range with superior headroom

• Separate Master Mix, Control Room and Headphone

Outputs

• 3-band EQ on all channels

• Mic and Line Balanced inputs for optimum audio integrity

• Tape In and Record Out RCA jacks with Tape inputs assign-

able to Master Mix or stereo Control Room/Headphone out-

puts

• Switchable global +48V phantom power on all mono inputs

• Input Trim control on each mono channel

• Pan pots on each mono channel and Balance pots on each

stereo input

• Pre and post-fader Aux Sends for external effects and moni-

toring

• 2 multifunction stereo Aux Returns with Aux Return controls

• Switchable Low Cut filters (18 dB/octave @ 75 Hz) on mono

channels

• PFL (Pre-Fader Listen) function on all channels

• 60 mm faders on all channels and Master Mix for precise

level control

• 1/4" TRS and XLR Stereo Outputs

• Peak LEDs on input channels

• Dual 10-segment LED display bargraph meters

• High quality sealed pots with center detents

• High-strength steel casing and superior construction with

only highest quality components for longest life and maxi-

mum reliability

• External AC supply for optimum signal integrity and superior

transient response

SRM-12X

• 12 Channel Stereo Mic/Line Mixer

• 4 mono input channels with balanced XLR Mic and 1/4"

TRS line inputs

• 8 stereo input channels with balanced 1/4" TRS jacks for

balanced or unbalanced inputs

• Four 1/4" TRS inserts allow independent connection of

effects devices for each mono channel

• Dimensions & Weight: 13.5" x 11.5" x 3" (343 x 292 x 76

mm), 7.9 lbs (3.6 Kg)

SRM-14X

• 14 Channel Stereo Mic/Line Mixer

• 6 mono input channels with balanced XLR Mic and 1/4"

TRS line inputs

• 8 stereo input channels with balanced 1/4" TRS jacks for

balanced or unbalanced inputs

• Six 1/4" TRS inserts allow independent connection of effects

devices for each mono channel

• Dimensions & Weight: 13.5" x 13.5" x 3" (343 x 343 x 76

mm), 9.3 lbs (4.2 Kg)

Separate features include:

INSTALLATION

To ensure years of enjoyment from your NADY AUDIO SRM Series mixing console, please read and understand this manual

thoroughly before using the unit.

1. INSPECTION

Your NADY AUDIO SRM-12X/14X was carefully packed

at the factory in packaging designed to protect the units

in shipment. Before installing and using your unit, careful-

ly examine the packaging and all contents for any signs

of physical damage that may have occurred in transit.

[Please note: Nady Systems is not responsible for ship-

ping damage. If your unit is damaged, do not return to

Nady, but notify your dealer and the shipping company (if

shipped to you) immediately to make a claim. Such

claims must be made by the consignee in a timely man-

ner.]

2. RACK MOUNTING

Enclosed in the shipping box you will find a rackmount

kit. If you want to make your SRM-12X/14X a rack mixer,

remove the screws from the side panels and use them to

fix the rack ears (note that there is a left and a right one).

Parts of the mixer and the power supply unit can become

very warm during use. This is normal during operation.

Care should be taken to ensure that there is enough

space around the unit for cooling. Also, do not place the

SRM-12X/14X on high temperature devices such as

power amplifiers etc. or the unit may overheat in opera-

tion.

Although the unit's chassis is shielded against radio fre-

quency (RF) and electromagnetic interference (EMI),

extremely high fields of RF and EMI should be avoided.

3. POWER CONNECTION

The SRM-12X/14X is designed to operate with the sup-

plied external power supply unit (PSU). Please make sure

that the power unit supplied is marked for the correct volt-

age in your area (120VAC/60 Hz or 230VAC/50Hz).

Power requirements for electrical equipment differ from

area to area. In new installations and portable sound sys-

tems, or any situation in which the AC power is in ques-

tion, it is wise to confirm the voltage and use the appropri-

ate power supply unit before connecting it to power

sources.

Check to see that the unit is set to the voltage for your

area by referring to the table below:

Europe (except UK): 230V, 50Hz

UK and Australia: 240V, 50Hz

USA and Canada: 120V, 60 Hz

For other areas, please check with local authorities.

Do not connect the PSU to the SRM-12X/14X while the

PSU is connected to the AC mains supply. Connect the

switched-off SRM-12X/14X and PSU first before you con-

nect the PSU to the mains supply. Lastly switch on the

SRM-12X/14X with the power switch on the back panel.

Use only the correct NADY power supply unit to connect

the SRM-12X/14X to the Mains AC power.

(29) INSERTS

Channels 1-4 (SRM-12X) and 1-6 (SRM-14X) are equipped

with rear panel insert jacks to connect external signal proces-

sors, such as compressors, noise reduction systems, or

effects devices, to the individual input channels. Insert points

are useful for adding dynamic processing or equalization to a

channel or the mix. Unlike reverbs etc., which are usually

added to the dry signal, dynamic processing is normally

applied across an entire signal. Here an Aux Send would be

inappropriate. Instead the signal is intercepted somewhere

along the channel, fed through the dynamics processor

and/or EQ, then returned to the console at the same point

where it left. The insert point is normalized, i.e. the signal is

only interrupted when a jack is plugged into it. The insert jack

is located pre EQ in the channel and is configured as: Tip =

send, Ring = return, Sleeve = ground.

The Insert can also be used as a channel direct output by

sending the signal from the ring. To use the Insert as a direct

output, insert a 1/4" phone plug halfway into the Insert jack so

the tip of the plug connects with the ring of the insert jack.

The jack will click into place when the connection to the ring

is made.

(4) TRIM CONTROL

The trim control adjusts the input sensitivity (channel gain) of

the mic and line inputs on the mono input channels. This con-

trol can be adjusted to accommodate input signals from a

wide variety of sources, from the high outputs from keyboards

or drum machines to the small signal outputs of microphones.

This wide range eliminates the need for Mic/Line switching.

The best balance of S/N and dynamic range will be achieved

if you adjust the TRIM control on each channel separately so

that the Peak Indicator LED (8) for that channel lights occa-

sionally.

(3) LOW CUT FILTER

Use this Low-Cut (high-pass) filter (18 dB/octave, -3 dB at 75

Hz) for reducing floor rumble, popping, breathing noises,

woolly bottom end, and to tighten up channels in a mix, etc. It

is most effective when used carefully in conjunction with the

Equalizer Controls (5).

(5) EQUALIZER CONTROLS

All mono input channels are fitted with a three-band EQ. All

three bands have up to 15 dB of cut and boost, with a center

detent for "off". The frequency response is flat when all three

EQ knobs are in the center detent position. The upper and

lower shelving controls have their frequencies fixed at 12 kHz

and 80 Hz respectively. The midrange control has a peaking

response at 2.5KHz (Q fixed at 1 octave). Remember that the

CONTROLS AND CONNECTIONS

1. MONO INPUT SECTION

(1) MIC INPUT

The Mic input is an electroni-

cally balanced XLR type

designed to accept signals

from any balanced low imped-

ance (Low Z) microphone. To

accommodate condenser

microphones, this input is also

equipped with +48VDC phan-

tom power globally switchable

to all XLR input jacks with the

Phantom Power switch (25)

on the back panel. Dynamic

or ribbon-type microphones

do not require phantom pow-

ering. It will be necessary to

adjust the channel gain with

the input Trim control (4) to

achieve a nominal operating level. The XLR jack is configured

for: Pin1 = ground, Pin2 = positive (+), Pin3 = negative (-).

[Note: The Mic inputs are more sensitive than the Line inputs.

Also, do not connect mics with the phantom power switched

on, as indicated by the Phantom Power On LED (26) in the

Master Section of the front panel. Never use unbalanced mic

cables with the Phantom Power switched on. Never short the

+48VDC to ground, as that can cause serious damage to

your mixer. Also, mute the Monitor/PA speakers when turning

the phantom power on or off.]

(2) LINE INPUT

The Line input is designed to accept balanced or unbalanced

line-level signals such as those from keyboards, drum

machines, or samplers. There is enough gain available on the

line input to accept even lower level signals, such as those

from an unbalanced microphone or guitar output. Use the

Trim control (4) to adjust for the desired level. If a balanced

signal is to be connected to the line input, then a 1/4" TRS

(stereo) phone plug should be wired for: Tip = positive (+),

Ring = negative (-), Sleeve = ground.

(Note: Only either the Mic or the Line input of a given channel

can be connected at one time. Never connect both simultane-

ously to the same channel.)

(1)

(2)

(3)

(4)

(29)

BACK PANEL

Low Cut filter (3) is an integral

part of the overall equalization

of a mono channel. The chan-

nel EQ is a valuable feature of

the mixer as it allows the user

to control the tonal characteris-

tics of each instrument sepa-

rately. For example, boosting

the LOW can fatten the sound

and add punch to the bass or

drums; the MID control can be

used to define the midrange or

bring out the vocals; and

adjusting the HIGH control can

provide a crisp sounding high

end. With the LOW set to

boost, and the Low Cut switch

activated, you get peak

response rather than shelving

at the bottom end. This is use-

ful for adding warmth to vocals

and instruments, and good for

tight but deep bass (without

losing control of your subwoofer

speaker cones). Another very

important, yet often overlooked

technique is to use the EQ to

subtract from the mix. Cutting

the HIGH control can reduce

unwanted hiss during multi-

track recording, while attenuat-

ing the MID or LOW can elimi-

nate feedback in a live perform-

ance or clear up a muddy

sounding mix. Cutting away the

top and bottom, then pushing

up the Gain is equivalent to mid

range boost!

[Note: Always reset a channel’s

input Gain (or external devices’

output level) after altering the

amount of mixer equalization

cut or boost applied.]

The key to successful equaliza-

tion is to avoid excess. Too

much equalization on the input channels will result in a mix

that is smeared together with nothing specifically defined.

During rehearsals, experiment with the equalizer controls on

various instruments, vocals and combinations of these mixed

together to become familiar with various equalizer settings.

CONTROLS AND CONNECTIONS

(6) AUX SEND 1, 2 CONTROLS

Both Aux Sends are mono and post-EQ and control the level

of the signals sent to the AUX buses.

• Aux Send 1 is pre-fader and the signal sent to the

AUX 1 bus will be unaffected by the channel fader

setting.

• Aux Send 2 is post-fader and the signal level sent

to the AUX 2 bus will be affected by the channel

fader setting.

For almost all effects send purposes, you will want to use the

post-fader AUX 2, so that when a fader level is adjusted, any

reverb send from that channel follows the fader. Otherwise,

when the fader is pulled down, the reverb from that channel

would still be audible. Most reverbs etc. internally sum the left

and right inputs so that you can use AUX 2. You can also use

this AUX 2 send to feed inputs to a multi-track recorder or any

other unbalanced line level application.

On the other hand, for cueing purposes and monitor ampli-

fiers, use the pre-fader AUX 1 (i.e. independent of the chan-

nel fader)

(7) PAN CONTROL

The Channel Pan positions the output of the channel in the

stereo field of the Master Mix. Its constant-power design

ensures there are no level discrepancies whether a signal is

hard-panned, center-stage, or somewhere in-between.

(8) PEAK LED INDICATOR

The Peak LED illuminates when a channel is going into over-

load. It detects the peak level after the EQ and will light at

3dB before clipping to warn that the signal is approaching

overload. You do not want the Peak LED to light except very

intermittently during a take or a mix. If it does light persistent-

ly, reduce input gain with the TRIM control (4).

(9) PFL SELECT SWITCH

The PFL (pre-fader listen) switch enables monitoring the

mono signal of any channel(s) selected (button depressed) at

nominal levels though the headphone or control room monitor

outputs [In order to monitor the PFL channels selected, you

must also set the Master/PFL to Control Room switch (20)

to the button depressed (PFL) position].

The signal is post EQ and independent of channel fader posi-

tion. Selecting the PFL never interrupts the main stereo out or

the AUX sends.

(10) CHANNEL FADER

The channel faders determine the output signal level to the

Master Mix bus. They offer a smooth logarithmic taper more

often associated with much more expensive consoles for opti-

mum control of the signal.

(5)

(6)

(8)

(7)

(9)

(10)

CONTROLS AND CONNECTIONS

2. STEREO INPUT SECTION

(15A) L (MONO) LINE INPUT

On stereo input channels 5-12 (SRM-12X) or 7-14 (SRM-

14X), the 1/4" line inputs are designed for stereo or mono

line-level signals such as those from keyboards, drum

machines, CD players, tape decks, or samplers. However,

these inputs can also be used as standard mono line inputs

by connecting the signal to the L (MONO) line in. This signal

will be routed equally to the BAL control and the left and right

outputs in the same way as the standard line input channels.

For the stereo line inputs the mono channel PAN (7) control is

replaced by the BAL (Balance) control. See also BAL CON-

TROL (16) below.

(15B) R LINE INPUT

When using channels 5-6, 7-8, 9-10,11-12 (SRM-12X) or 7-8,

9-10,11-12, 13-14 (SRM-14X) as stereo input channels, the

left signal should be connected to the L input and the right

signal to the R input. These signals will be routed to the AUX,

EQ and Channel fader controls equally and will retain their

stereo separation. The AUX, EQ, BAL, and Channel fader

controls all function the same as those on the mono input

channels.

When a stereo signal is input to a stereo input channel, these

controls will affect the left and right signals equally.

The Stereo Line Inputs jacks are 1/4" TRS balanced phone

jacks, Tip = positive (+), Ring = negative (-), Sleeve = ground.

The input signals to these jacks can be either balanced or

unbalanced.

(5) EQUALIZERS

The stereo channel EQ’s operate in the same manner as

those in the mono channels. The left and right signals will be

affected equally. A stereo equalizer is generally preferable

anyhow to using two mono equalizers when equalizing a

stereo signal as it avoids possible discrepancies between the

left and right settings.

(6) AUX SENDS

These are the same as for

the mono channels. Note that

a mono sum is taken from the

stereo input.

(16) BAL CONTROL

For a mono input to the L

(MONO) input the function of

the control is the same as the

PAN controls (7) of the mono

channels. However, when a

channel is run in stereo, this

control functions as a Balance

control, determining the rela-

tive Balance of the left and

right channel signals being

sent to the left and right

Master Mix buses. For exam-

ple, with the Balance control

turned fully clockwise, only

the right portion of the chan-

nel’s stereo signal will be

routed to the Master Mix.

(9) PFL SELECT SWITCH

(10) CHANNEL FADER

This has the same function as

for the mono channels. See

MONO INPUT SECTION.

(15A)

(15B)

(5)

(6)

(16)

(10)

(9)

a. AUX Sends/Returns Function and Operation

(11) STEREO AUX RETURNS (LEFT/MONO, RIGHT)

(19) AUX 1,2 RETURN CONTROLS

The AUX Return jacks are the mono or stereo returns for

AUX 1 and 2. If you connect a signal to the Left/Mono Return

jack only, the AUX Return will operate in mono and the signal

will be routed to the respective Aux Return Control (19) and

then mixed into the left and right Master Mix Stereo Outputs

(30). The separate left and right return jacks are provided for

use with stereo signals such as those from the output of a

stereo effects processor. The left and right return signals will

be routed to the Return level controls (19) and mixed into

the left and right Stereo (30), while maintaining stereo sepa-

ration.

The Aux Returns are multi-functional. They may be used for

returning the outputs of effect units, as Tape Returns from a

multi-track recorder, or as extra instrument inputs, especially

if your MIDI keyboard or rack supplies a pre-mixed stereo sig-

nal. Certain stereo effects produce a perceived imbalance

between the left and right channel levels. To correct for this

you will have to bring your stereo effect back on a stereo

channel, which has a Balance control (16). When applying

short left and right delays, the shortest one will always seem

loudest. When pitch shifting up and down in wide stereo to

thicken a sound, the signal shifted upwards will seem louder

than one that goes down. In both cases use the Balance con-

trol to compensate. When performing any stereo imaging

exercise, don’t just rely on the control room monitors. Get a

pair of headphones and listen in stereo and in reverse stereo,

just in case you have any significant hearing discrepancies.

Sometimes you might want to narrow the stereo width of a

reverb field. To do this you will have to come back on two

mono channels to get independent pan for the left and right

signals.

CONTROLS AND CONNECTIONS

(12) AUX SENDS

The Aux Send 1 and 2 jacks are the outputs for the signals

sent from the channel Aux controls (6). The Aux Sends and

Aux Returns are all 1/4" unbalanced phone jacks wired: Tip =

positive (+), Sleeve = ground. AUX 1 is pre-fader and AUX 2

is post-fader. These signals can be sent to the input of an

effects processor, multi-track recorder, or used for any other

line-level auxiliary purpose. Master Aux Send levels are

adjusted by the Aux Send controls (19).

b. Main Mix Function and Operation

(30) STEREO OUTPUTS

(13) TAPE INPUTS

(14) REC OUTPUTS

(28) MASTER MIX FADER

(27) LED OUTPUT METER

(21) TAPE/REC TO MASTER SWITCH

The Stereo Outputs consist of both Left (L) and Right (R) bal-

anced XLR’s, wired: pin 1 = ground, pin 2 = hot (+), pin 3 =

cold (-), and unbalanced 1/4" phone jacks, wired: Tip = posi-

tive (+), Sleeve = ground.

The REC Outputs (14) also provide an output of the Master

Mix. These outputs are RCA jacks, and designed primarily for

inputs to tape recorders, etc. The output level routed to the

Stereo Outputs and REC Outputs is determined ultimately by

the setting of the Master Mix fader (28). The Master Mix

(signal on the master bus) is the sum of the signals routed

from all the channels and also the inputs from the AUX return

bus and the TAPE Input (13). Use the Tape/Rec to Master

switch (21) to route signals from the Tape Input (13) to the

Master Mix Fader (28). The level of signal routed to the

Master Mix fader (28) from DAT, tape decks, CD players,

3. MASTER SECTION

(11)

(12)

(13)

(14)

(17)

(18)

(15A)

(15B)

CONTROLS AND CONNECTIONS

etc., input to the

Tape Input (13) is

determined by the

setting of the output

volume control of

the audio device

being connected, so

care must be taken

in adjusting this

level so as to

achieve proper bal-

ance in the final mix

and to prevent over-

load distortion.

The 10-stage LED

Output Meter (27)

displays the Master

Mix output level.

c. Monitor

Function and

Operation

(17) CONTROL

ROOM OUTPUTS

(18) HEAD-

PHONES OUTPUT

(22) PHONES/

CONTROL ROOM

CONTROL

(20) MASTER/PFL

TO CONTROL

ROOM SWITCH

The SRM-12X/14X

allows you to moni-

tor either the Master

Mix or any chan-

nel(s) selected by

the channel PFL

Select switch (9).

To monitor the

Master Mix, the

Master/PFL to Control Room switch (20) must be in the up

(unpressed) position. Press the switch down to enable PFL

function. In this mode you can now monitor any channel(s) by

pressing the channel PFL Select switch (9). In either case,

the signal level is adjusted with the Phones/Control Room

control (22) and routed to both the Control Room (17) and

Headphones (18) outputs. The L-R Control Room Outputs

(17) can be connected to an amp to power stereo control

room (or other) monitor speakers and are 1/4" unbalanced

phone jacks, wired: Tip = positive (+), Sleeve = ground.

The Phones Output will feed headphones and is a 1/4" TRS

jack, wired: tip = left signal, ring = right signal, sleeve =

ground.

d. Power Switches

(31) AC POWER IN SOCKET

(23) MAIN POWER SWITCH

(24) POWER ON LED INDICATOR

Once the external PSU is connected to the AC Power In

socket (31) and then to the AC power source, you may switch

on your mixers with the Power On switch (23). The Power

"ON" LED (24) will light up. Allow 1 minute after powering up

for the system to reach equilibrium before setting inputs gains

and other levels.

(25) PHANTOM POWER SWITCH

(26) PHANTOM POWER ON LED INDICATOR

When using condenser mics, +48VDC can be switched glob-

ally on or off to the XLR mic inputs for all mono channels (also

see MONO INPUT SECTION, MIC INPUTS). When this

switch is in the "ON" position, The Phantom Power On LED

Indicator (26) will light, and +48VDC will be provided

between pins 2 and 3 on all the mono Mic input XLR connec-

tors. If you don’t need phantom power, be sure to turn this

switch to the "OFF" position.

[Note: It is safe to connect balanced dynamic mics or line

level devices even if this switch is on, but connecting unbal-

anced devices or devices whose transformers are center-

grounded will cause hum or malfunctions. Shorting the

+48VDC can also damage your mixer. Also, mute the

Monitor/PA speakers when turning the phantom power on or

off.]

BACK PANEL

(22)

(27)

(19)

(20)

(21)

(28)

(24)

(26)

(23) (25)

(31)

(30)

CONNECTIONS

This NADY AUDIO console uses 4 different types of audio connectors for the various input/output connections: (1) XLR bal-

anced; (2) 1/4" TRS phone jacks for balanced, unbalanced, stereo, or in/out inserts; (3) 1/4" TRS unbalanced; (4) RCA

pin unbalanced

Figures

1. Balanced XLR input/output connections

2. Stereo headphone connection with 1/4" TRS

plug

3. 1/4" mono (TRS) plug used as unbalanced

input/output

4. 1/4" stereo (TRS) plug used as balanced

input/output

5. 1/4" TRS plug used as Insert Send/Return

6. RCA pin plug for unbalanced input/ouput

Ground (Screen)

Cold

(Out of Phase Signal)

Hot

(In Phase Signal)

MICROPHONE INPUTS

GROUP & MIX OUTPUTS

Socket (female) Plug (male)

HEADPHONES

Tip =

Left signal

Ring =

Right signal

Sleeve =

Ground/Shield

Tip

Ring

Sleeve

Strain relief

clamp

UNBALANCED USE OF

MONO 1/4” PLUGS

Tip =

Signal

Sleeve =

Ground/Shield

Tip

Sleeve

Strain relief

clamp

BALANCED USE OF

STEREO 1/4” PLUGS

Tip =

hot (+ve)

Ring =

cold (-ve)

Sleeve =

Ground/Shield

Tip

Ring

Sleeve

Strain relief

clamp

1/4” STEREO PLUG USED AS INSERT SEND/RETURN

TIP

Send to External

Device

RING

Return from External Device

SLEEVE

Ground (Screen)

RCA PIN PLUG

2. 3.

Pin =

Signal

Sleeve =

Ground

(Shield)

Tip

Ring

Sleeve

Strain relief clamp

SPECIFICATIONS

3. FREQUENCY RESPONSE

ANY INPUT TO

ANY OUTPUT....................20 Hz to 20 KHz =/- 3dB @ 0 dBm

4. TOTAL HARMONIC DISTORTION

ANY INPUT TO

ANY OUTPUT ..............0.02%, 20 Hz-20 KHz @ 1Khz, 0 dBm

5. INPUT CHANNEL EQUALIZATION

High shelving ....................12 kHz, +/- 15 dB, Q fixed at 2 oct.

Mid bell ............................2.5 khZ, +/- 15 dB, Q fixed at 1 oct.

Low shelving ......................80 Hz, +/- 15 dB, Q fixed at 2 oct.

Low Cut (High Pass)

filter (Mono channels only)............75 Hz, -3 dB (18 dB/octave)

6. GAIN CONTROL RANGE

Mono input channel

trim control............................Stop to stop- Mic +10 dB~+60 dB

Channel/Master Faders ...................................... -

∞ to +15 dB

Aux Send..............................................................Off to +15 dB

Aux Return..............................................Off to Unity to +15 dB

7. CROSSTALK @ 1KHZ

ADJACENT CHANNEL INPUTS ......................-78 dB~-68 dB

INPUT TO OUTPUT.......................................... -78 dB~-68 dB

8. HUM AND NOISE

20 Hz-20 Khz, Rs=150 ohms, input TRIM @ 0 dB, input sensi-

tivity at –60 dB

EQUIVALENT INPUT NOISE ....................................-129 dBm

RESIDUAL OUTPUT NOISE........................................-85 dBm

9. VU METERS

10-segment LED X 2

10. PHANTOM POWER

+48 VDC, globally selected

11. POWER REQUIREMENTS

External PSU, 120 VAC/60Hz or 230 VAC/50Hz

12. POWER CONSUMPTION

25 Watts, External PSU

13. DIMENSIONS AND WEIGHT

SRM-12X: 13.5" x 11.5" x 3" (343 x 292 x 76 mm),

7.9 lbs (3.7 Kg)

SRM-14X: 13.5" x 13.5" x 3" (343 x 343 x 76 mm),

9.3 lbs (4.2 Kg)

External PSU not included

1. INPUT SECTION

Input Connector Input Impedance Nominal Level Max Level

MONO CH MIC XLR >1.3K Ω +2 dBm +14 dBm

MONO CH LINE 1/4" TRS >10K Ω +4 dBm +22 dBm

STEREO CH LINE 1/4" TRS >10K Ω +4 dBm +22 dBm

TAPE IN RCA PIN JACKS >10K Ω +2 dBm +22 dBm

AUX RETURNS 1/4" TS >10K Ω +4 dBm +22 dBm

INSERT IN 1/4" TRS >10K Ω +4 dBm +22 dBm

2. OUTPUT SECTION

Output Connector Output Impedance Nominal Level Max Level

STEREO OUT L/R XLR & 1/4" TS 120 Ω +4~+6 dBm +22 dBm

AUX SENDS 1,2 1/4" TS 120 Ω +4~+6 dBm +20 dBm

INSERT OUT 1/4" TRS 120 Ω +4~+6 dBm +22 dBm

CNTRL R. OUT 1/4" TS 1K Ω +4~+6 dBm +22 dBm

REC OUT RCA PIN JACKS 1K Ω +4~+6 dBm +22 dBm

PHONES 1/4" TRS 200 Ω ––– 40mW X 2

The specifications above are correct at the time of printing of this manual. For improvement purposes, all specifications for this unit,

including design and appearance, are subject to change without prior notice.

BLOCK DIAGRAM

NOTES

NADY SYSTEMS, INC. • 6701 SHELLMOUND STREET, EMERYVILLE, CA 94608

Tel: 510.652.2411 • Fax: 510.652.5075 • www.nadywireless.com

SERVICE FOR YOUR NADY AUDIO PRODUCT

(U.S.) Should your NADY AUDIO product require service, please contact the Nady Service Department via tele-

phone at (510) 652-2411, or e-mail at [email protected].

(International) For service, please contact the NADY AUDIO distributor in your country through the dealer from

whom you purchased this product.

DO NOT ATTEMPT TO SERVICE THIS UNIT

YOURSELF AS IT CAN BE DANGEROUS

AND WILL ALSO VOID THE WARRANTY.

Nady Systems SRM-14X User manual

Brand: Nady Systems

Model: SRM-14X

Category: Audio mixers

Type: User manual

This manual is also suitable for

SRM-12X

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Nady Systems SRM-14X User manual

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Nady Systems SRM-14X User manual

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